Whilst working on a wardrobe which articulates rather like an alphabet, he encourages each individual to choose his own style vocabulary, his own basic equipment and moreover his own personal uniform, to be composed according to the time, place and his general temperament.

He suggests a minimalist, ample, comfortable and yet defined silhouette which frees one’s movements and underlines the attracting singularity of individualities who integrated those forms where far beyond and classic Ming together in silence. To simply wear is to savor every moment of its art of tranquility.

To continue along the lines of a discourse centered on style perceived as a strictly personal matter, the concise and carefully structured collection creates multiple and playful combinations based around hybrid pieces which can be infinitely combined together.

The padded modules transcend even the most conventional and sober of kurtas, and the masculine army officer collared shirts structure long skirts of a woman whose sensuality is visible in the smartness of a detail, an accurate association of colors. For men, sleeves with a Chinese volume apply to supple jackets that feel like shirts.

Cotton and silk is found on total look on a jacket, large pants, and an unlined caftan. An inexhaustible palette of a vast range of neutral colours, tinged with a milky shade, Indian pinks, ochre and mossy greens decline skillfully those essential pieces.

Just like Japan’s music or the hot and unfathomed bass of Mick Karn which tampers with traditional Chinese melodies, Christophe Lemaire’s collection maintains equilibrium between discipline and a dreamy sensitivity in order to create confusion allowing unexpected and strange harmonies to escape.